Cristiano Ronaldo sports poster. The technique of

Cristiano Ronaldo sports poster. The technique of in-camera double exposure. Two photographs shot on the same frame of film. The first exposure his portrait. The second exposure an aerial photograph of the city of Lisbon. The two images occupying the same physical space. Neither erasing the other. Both present simultaneously. His face AND the city. The city visible through his face. His face mapped onto the city. Alfama rooftops where his forehead is. The Tagus river running through his jaw. The Ponte 25 de Abril suspension bridge crossing his eyes. He is made of the city. The city is shaped like him. Both statements true. The portrait layer. Shot on Kodak Portra 800 35mm film. The grain of this stock at this ISO visible throughout. His face three quarters angle looking upward. Slightly underexposed at minus one stop to allow the second exposure to read through. His features present but transparent. The face of a man you can see through and see more clearly because of it. The city layer. Aerial photograph of Lisbon. Shot from 300 meters altitude. The Alfama district. The castle. The red rooftops. The white facades. The river. The bridges. The specific geography of a capital city that produced its greatest athlete. Slightly overexposed at plus one stop to compensate for the portrait underexposure. The city luminous. The city bright. The city insisting on itself within the face of its son. The combination. Where his face is lightest the city is most visible. The Tagus river runs through the highlight on his forehead. The red Alfama rooftops cluster in the warm midtones of his cheeks. The shadow of his eye socket contains the shadow of the castle. The city and the face share a tonal logic. The highlights of one are the highlights of the other. The shadows of one are the shadows of the other. They were always the same image. Color treatment. The portrait layer in warm near-monochrome. His skin rendered in the sepia-warm tones of underexposed Portra 800. The city layer in full color. Terracotta greds of Lisbon rooftops. The specific blue-grey of the Tagus. The white limestone facades. The green of the miradouro viewpoint trees. The color of the city bleeding through the near-monochrome of the face. Lisbon in color. Ronaldo in near-monochrome. The city more vivid than the man because the city is larger and older and will endure longer and knows it. One graphic intervention. A thin ring. Signal red Pantone 485C. 0.5pt stroke. No fill. Diameter spanning the full width of his irises. Positioned at his eyes. A targeting circle. A lens aperture. The eye as a camera. The camera that recorded everything he saw and used it. The red ring the only designed element added to the photographic layers. Everything else is found not made. Typography. The restraint of someone who understands that the image does not need assistance. Upper left. Garamond Italic 7pt tracking 400 bone white. A dupla exposição. The double exposure. In Portuguese. The technique named in the language of the subject. Right edge vertical reading downward. Helvetica Neue Light 7pt tracking 600 bone white. CRISTIANO RONALDO LISBOA PORTUGAL SEMPRE. Always. The single word that ends his name and his city and his story. Sempre. Always. His tattoo. His truth. Bottom of poster centered. Two lines. Garamond Regular 10pt tracking 300 bone white. The city made him. He made the city proud. Below this. Full width. Helvetica Neue Black 64pt tracking minus 10 signal red. RONALDO. The name over the double exposure. Over the face. Over the city. Over both at once. The name that belongs to both. Film grain texture. Kodak Portra 800 at ISO 1600 pushed two stops. The specific silver halide crystal structure of this film stock at this development pushed to visible grain size. The grain is not digital. It is chemistry. It happened in a darkroom. The poster as a physical process not a digital file. The grain as proof of the analog origin. Photographers. Jerry Uelsmann darkroom multiple exposure master. Man Ray Rayograph logic. Duane Michals narrative sequence. Barbara Crane multiple exposure portraiture. The tradition of photographers who understood that one image is never enough. Art direction M/M Paris conceptual poetry. The decision to make a poster where the subject and his origin occupy the same physical space is a poetic decision not a design decision. The design follows the poem. Print format 70x100cm. Printed to simulate the quality of a darkroom silver gelatin print. Warm white base. The grain rendered at print scale. At reading distance the grain is felt before it is seen. The poster as a photograph. The photograph as a memory. The memory as a city and a face that cannot be separated.